文学

Chapter two presents the colonial mapping of Irish patriarchal literary tradition from bardic poetry to nationalist poetic works, which dehumanizes womanhood into national symbols or into literary muses.

第二章则是阐述爱尔兰父权文学传统，从吟唱文学历史到民族主义文学传统，将女性诗人的意象物化以及扭曲为象徵国家、文学缪思或装饰诗的符号，沦为殖民霸权，绘制了一个排除女性诗人的文学殖民版图。

The Modernism literature deputized by the New Sense school, with a view of exhibiting the materialized humanity in modern cities, in pursuit of the images and senses of art, as another important literature power in 1930s, also formed a confrontation to the mainstream.

新月派是基于文学的审美文化价值而强调普遍人性的，而左翼文学则从社会历史层面把握文学的阶级意识，这种不同价值范畴错位的对话是30年代文学多元选择的表征，其所共同支撑的文学时空在客观上形成张力。

Firstly, the Russian tendency of the national new culture and the third international activity in northeast region came to a decision that Modern Northeast Literature in its beginning was under the influence of Russian culture and literature profoundly. Since 1931 northeast was occupied by Japan, the center topic of occupied era northeast literature became exposing the violence of Japanese and emblazing people\'s striving and exploring the darkness of society bottom. In this case, the Soviets revolutionary literature which went through October revolution and expressed the similar conflict topic turned into the study model of northeast writers. The creations of northeast writers was under the influence of Soviets revolutionary literature deeply in the topic, conceive outline, the character building.

首先，全国新文化运动的俄苏倾向和东北地区第三国际共运活动的开展共同决定了东北新文学在其开端就受到俄苏文化和文学的积极而深远的影响。1931年东北沦陷后，揭露日伪统治者的暴行，颂扬人民的反抗斗争，探究社会底层的黑暗成为沦陷时期东北文学的中心主题，在这种情况下，经历了十月革命炮火洗礼、表现相似的斗争主题的苏俄革命文学就成为文学素养相对薄弱的东北作家的学习榜样，东北作家的创作在主题、构思、人物形象塑造等多方面都受到了苏俄革命文学的深刻影响。

Firstly, the Russian tendency of the national new culture and the third international activity in northeast region came to a decision that Modern Northeast Literature in its beginning was under the influence of Russian culture and literature profoundly. Since 1931 northeast was occupied by Japan, the center topic of occupied era northeast literature became exposing the violence of Japanese and emblazing peoples striving and exploring the darkness of society bottom. In this case, the Soviets revolutionary literature which went through October revolution and expressed the similar conflict topic turned into the study model of northeast writers. The creations of northeast writers was under the influence of Soviets revolutionary literature deeply in the topic, conceive outline, the character building.

首先，全国新文化运动的俄苏倾向和东北地区第三国际共运活动的开展共同决定了东北新文学在其开端就受到俄苏文化和文学的积极而深远的影响。1931年东北沦陷后，揭露日伪统治者的暴行，颂扬人民的反抗斗争，探究社会底层的黑暗成为沦陷时期东北文学的中心主题，在这种情况下，经历了十月革命炮火洗礼、表现相似的斗争主题的苏俄革命文学就成为文学素养相对薄弱的东北作家的学习榜样，东北作家的创作在主题、构思、人物形象塑造等多方面都受到了苏俄革命文学的深刻影响。

For voluntarism, it has affected literature concept with two kinds different way: One kind is called positive voluntarism ,which night-spirit "mental and physical efforts", request strong ideal to breaks fatalistic and the thought which restrict people's mind, and arouse active fighting spirit, has enormous effect to break the restrict of the feudal ethical code and outdate standard to literature , the intellectual then start to promote express sincerely and it has also affected the thought that Lu Xun hold hight frighting energy and called "the Moluo poet" to break "Ping He" in literature . Another one kind which based on break away from pain and pursue transcendent , can called pessimistic voluntarism , reflect concertratly in "absolve" and "recreation" of Wang Guowei's theory .

就唯意志论思潮对文学观念的影响而言，本文主要分为两方面：一种是昂扬&心力&、要求以强力意志打破宿命，并以意志冲破思想&网罗&、激发斗志的积极唯意志论，对于冲破文学&礼&和旧有规范的制约，从而发倡文学&真&论作用很大，也影响了鲁迅等呼唤&摩罗诗人&打破&平和&，高扬文学战斗性的思想；另一种则可称是以摆脱人生苦痛、追求人生解脱和超越的悲观唯意志论，在王国维的&解脱&与&游戏&的文艺观中体现，使文学观念向审美超越的层面迈进。

In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.

由于电影文学剧本独特的语言表达方式，其在人物塑造上具有不同于小说、戏剧的特点。1940年代后半期电影剧作者高度重视电影文学剧本中人物形象的塑造，运用电影化的思维方式来刻画人物，依托人物性格的发展来展开故事，使得这时期电影文学剧本在引人入胜的故事书写中，绘就出了一长串内涵丰富、形象生动、有血有肉的人物群。1940年代后半期电影文学剧本既顺应着中国现代文学的历史进程，又呼应着动荡巨变的时代大潮，无论是侧重社会批判意识的，还是倾向人文关怀意识的，其思想性或方向性是非常明确的，但这种&方向性&的表达和诉求既不是概念性的，也不是生硬的灌输，而是&具体形象&的，是&隐寓&文本之中，在故事情节发展和人物性格塑造之中自然而然地流露出来的，可以说是&风行水上，自然成纹&，呈现出高超的艺术技艺和水准。

The pluralizing of minoritarian literature and its poetics is one of the most important features in American postmodernism.

后现代派小说是二十世纪美国文学的主要体裁。它不仅在二十世纪后半叶美国文学史上占有突出的地位，而且影响了美国少数民族文学，如黑人文学、犹太文学和亚裔文学等。

When network becomes one of intermediaries of literature, its suppositional feature makes it resemble the people grand carnival fancy ball with the dummy, symbolic, and interactive characteristics. Also the hubbub, relaxed liberty, and the vulgar humorous language in network literature manifest its distinct carnival color. Compared with the traditional elite literature, network literature, with gradually richening form, has had the common people consciousness that everybody can participate in; and has had the particularity of desire consumption, and the pursuing of real life.

当网络成为文学的传播媒介时，网络的虚拟性又使得网络文学具备了像民间盛大的狂欢节化妆舞会，具有广场狂欢的虚拟性、符号性和交互性；网络文学的众声喧哗、轻松自由、富有个性的诙谐粗鄙语言等特点更加显现其狂欢色彩；与精英化的传统文学相比，网络文学具备了全民参与的平民意识，具备了大众文化欲望消费、追求现实生活的审美特质，其审美形式也在日渐丰富。

Ernest August Gutt has been engaged in this domain and made great achievements.A systematic research on Gutt"s translation theory clarifies some misunderstandings concerning this theory, disclosing its true nature and exploring its explanatory power to translation practice. Furthermore this thesis probes into the application of Gutt"s theory to literary translation, pointing out that Gutt fails to realize the important role that non-formal aesthetic markers, such as tone and feeling, play in transferring aesthetic values in literary translation, though he lays much emphasis on the transference of formal aesthetic markers. Attempts have been made to amend Gutt"s theory in respect of transferring aesthetic values of literary work by means of "non-formal aesthetic markers, with the aim of making it more suitable for literary translation between Chinese and English.

本文简述了关联理论的基本内容，对恩斯特·奥古斯特·格特根据关联理论建立的关联翻译理论作了较为全面、系统的研究；梳理、分析了译界对它的研究情况和接受情况，澄清了译界对关联翻译理论的种种错误认识；探讨了该理论对翻译现象的强大解释力；最后对格特理论在汉英文学翻译实践中的局限性进行了有益探索，指出了格特理论在文学作品的美学价值的再现上存在不足：格特忽视了美的非形式特征在文学作品的美学价值的再现上所起的重要作用；并结合自己的翻泽研究和实践，从美的形式特征和非形式特征两个方面，用具体译例阐释了文学翻译如何再现原作美学价值的问题，力求使该理论更适合于汉英文学翻译。

My attempt, to discuss the identity problem in the contemporary German-Jewish literature, would be great helpful to Identity study in China.

近年来，我国国内已经出现不少有关犹太文学中身份问题的讨论，但这主要局限在美国犹太文学领域，对德国/奥地利犹太文学的研究尚处于空白，因此本文在这方面课题的探讨对于国内德语文学乃至整个犹太文学。。。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。